ANTOINE  WATTEAU 


CLASSICS  IN  ART  SERIES 


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Radierung  von  Boucher  nach  einem  Gemalde  Watteaus 


THE  WORK  OF 

ANTOINE  WATTEAU 


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ANTOINE  WATTEAU 


HIS  LIFE  AND  WORK 

The  reign  of  Louis  XIV  saw  Paris  raised  to  the  dignity  of  being 
the  art  centre  of  western  Europe.  The  multiplicity  of  building  en- 
terprises, for  the  beautifying  of  the  French  capital,  undertaken  by 
the  great  King,  had  so  stirred  the  art  circles  of  the  Netherlands  that 
artists  began  to  migrate  from  thence  to  where  they  thought  commis- 
sions could  be  more  easily  obtained.  Paris  was  thus  soon  crowded 
with  young  men  from  Holland  and  Belgium,  who  had  brought  with 
them  their  palettes  and  paint  boxes  in  eager  expectancy  for  seizing 
the  opportunity  for  distinction  which  seemed  to  offer  itself  in  the 
city  then  rising  in  new  beauty  on  the  banks  of  the  Seine.  Among 
these  artists  was  Antoine  Watteau. 

Jean  Antoine  Watteau  was  born  at  Valenciennes,  a town  which 
only  later  became  part  of  French  territory,  on  the  ioth  of  October, 
1684.  His  father,  Jean  Phillippe  Watteau,  was  a respectable  citi- 
zen of  the  town  following  the  trade  of  tiler — un  modeste  couvreur, 
he  is  called.  His  mother,  Michelle  Lardenoire,  was  a simple  work- 
ing woman.  So  far  as  we  know,  Antoine  was  their  only  offspring,  and 
we  learn  from  the  records  at  our  disposal,  that  he  was  a feeble  child, 
with  a weak  and  delicate  constitution.  When  but  a boy  of  six  he 
displayed  a distinct  talent  for  drawing.  The  tale  is  told  that  his 
father  one  day  found  the  boy  deeply  absorbed  in  the  big  “ Lives  of 
the  Saints,”  a volume  every  respectable  household  treasured  as  we 
do  the  family  Bible.  On  going  to  see  what  it  was  that  interested 
the  lad  so  deeply,  he  was  astonished  to  find  that  Antoine  had  cov- 
ered the  margins  of  the  pages  of  the  book  with  drawings  of  all  sorts 
of  figures,  and  designs  in  colors;  and  so  cleverly  had  he  done  these 
that  the  simple  tiler  was  utterly  nonplussed  to  know  how  it  was  that 
his  child  had  acquired  his  remarkable  skill.  Antoine  was  sent  to 
school,  and  it  was  the  schoolmaster  who,  becoming  aware  of  the  boy’s 
natural  genius,  persuaded  the  father  to  allow  the  lad  to  receive  proper 

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instruction  in  drawing.  Old  Watteau  was  not  very  willing,  but  he 
finally  consented,  remarking,  that  after  all  there  was  less  risk  in  a 
painter  breaking  his  neck  by  falling  off  a roof. 

Who  was  Watteau’s  first  teacher  in  drawing  scarcely  matters, 
since  he  proved  to  be  incompetent  and  did  the  boy  no  good.  But 
the  time  thus  allowed  the  boy  for  the  pursuit  of  his  natural  bent  was  of 
infinite  value  to  him,  because  it  left  him  free  to  indulge  himself  in  his 
own  fancy.  Valenciennes  was  at  that  time  a city  of  no  small  import- 
ance. It  possessed  several  fine  churches  which  contained  paintings 
by  Teniers  and  others,  and  there  was  also  a number  of  societies  and 
guilds  of  artists  in  the  place.  Among  these  the  Guild  of  St.  Luke  is  to 
be  specially  noted  since  its  master,  Jacques  Albert  Gerin,  was  a friend 
of  Watteau’s  father.  To  Gerin  the  elder  Watteau  went  to  show  some 
of  his  son’s  drawings,  with  the  result  that  the  master  of  the  Guild 
urged  the  father  strongly  that  the  lad  be  encouraged.  In  1698,  there- 
fore, Antoine  is  found  apprenticed  to  Gerin  for  three  years,  in  accord- 
ance with  the  statutes  of  the  corporation  of  the  artists  of  the  town. 

There  can  be  no  doubt  whatever  about  the  value  to  Watteau  of 
this  apprenticeship.  Gerin  sent  the  youth  to  copy  the  pictures  in 
the  churches  of  the  town — the  paintings  of  Rubens,  Van  Dyck, 
De  Vos,  Jordaens,  Coques,  Teniers  and  other  Flemish  masters.  In 
addition  to  this  copying  work  he  drew,  under  his  master’s  guidance, 
designs  and  studies  for  original  compositions.  So  industriously  did 
he  apply  himself  that  in  1700,  the  beginning  of  the  second  year  of 
his  apprenticeship,  he  had  finished  his  first  painting,  which  he  called 
“ La  Varie  Gaiete.”  Of  course  this  painting  was  a frank  imitation  of 
Teniers,  but  the  execution  of  the  details  was  not  at  all  in  the  Flemish 
manner.  The  subject  is  a dancing  scene  outside  a tavern,  a genuine 
Dutch  picture,  but  the  almost  exquisite  treatment  of  the  clothes  of 
the  figures  is  far  from  Dutch. 

In  1701  Watteau  completed  his  second  important  work,  “ Le 
Retour  de  Guingette,”  still  in  the  distinct  Flemish  style,  picturing  the 
closing  time  of  a tavern.  Here  again,  however,  the  treatment  is  quite 
un-Flemish.  In  this  year  also  his  master  died,  and  Watteau  was 
left  to  make  his  way  alone  in  the  world  of  art  and  life.  Gerin  had 
often  spoken  to  his  pupil  of  Paris,  and  had  advised  him  to  go  there 
in  order  to  study  the  works  of  the  great  masters  of  his  art;  but  when 
Watteau  sought  his  father’s  help  for  this  journey  he  was  denied  it. 
The  tiler  saw  nothing  in  art  as  a money-making  business.  Watteau, 
however,  could  ill  stand  rebuke  and  criticism.  His  delicate  consti- 
tution was  the  outward  mark  of  a very  sensitive  nature.  He  felt, 

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moreover,  he  must  at  any  cost  fulfil  the  bent  of  his  genius.  He  there- 
fore left  Valenciennes,  with  what  worldly  goods  he  could  scrape  to- 
gether, and  tramped  his  way  to  the  great  city  of  which  his  master 
had  spoken  so  enthusiastically.  It  is  thus  that  in  1702  we  find  him  in 
Paris  for  the  first  time. 

Very  little  is  known  of  how  Watteau  spent  his  first  years  in  Paris. 
We  are  certain,  however,  that  he  must  have  suffered  much  priva- 
tion and  great  disappointment.  He  worked  for  a little  while  with 
Louis  Metayer,  a sort  of  decorative  artist  who  dealt  in  cheap  and 
crude  works,  employing  very  poorly  paid  young  men  and  women  to 
copy  and  draw  and  color  for  him.  Watteau  was  glad  of  a job  and 
sold  himself  for  $3  a month  and  a plate  of  soup  every  day.  And  this 
was  the  great  city  of  Paris! 

Watteau,  however,  soon  showed  his  master  that  he  was  no  com- 
mon dauber.  He  was  not  a mere  copyist,  because  he  could  draw  and 
paint  his  own  compositions.  On  this  account,  therefore,  his  wages 
were  increased  until  he  was  the  happy  receiver  of  $20  a month.  But 
he  grew  tired  of  the  drudgery,  and  left  Metayer  and  his  factory. 

During  these  slave  days  he  had  made  the  acquaintance  of  one 
of  his  countrymen,  the  painter  Spoede,  a young  artist  from  Ant- 
werp, who  was  a pupil  at  the  Royal  Academy  and  had  gained  the 
Grand  Prix.  Spoede,  no  doubt,  saw  that  Watteau  was  utterly  out 
of  his  element  and  urged  him  to  free  himself  from  his  wretched 
circumstances.  It  is  probable  also  that  Spoede  introduced  Watteau 
to  Claude  Gillot,  a painter  of  grotesques  and  theatrical  scenes.  Gil- 
lot  was  employed  to  design  the  costumes  for  the  Italian  Theatre,  and 
he  was  also  a dealer  in  pictures.  By  whatever  means  Watteau  came 
to  know  Gillot  it  is  certain  that  towards  1703  Watteau  was  working 
in  Gillot’s  studio,  and  through  Gillot  the  genius  of  Watteau  ripened 
into  fullness.  Gerin  had  taught  Watteau  little  more  than  the  ele- 
ments of  his  art.  In  the  evolution  of  Watteau’s  genius  Gerin  plays 
a part  similar  to  that  played  by  Swanevelt  in  Rembrandt’s  life.  Gil- 
lot, however,  became  for  Watteau  what  Pieter  Lastmann  had  been 
to  Rembrandt.  In  Gillot,  Watteau  found  a master  who  could  teach 
him  what  he  himself  did  not  know,  and  master  and  pupil  came  to 
love  each  other  and  to  work  together  in  harmony.  It  was  under 
Gillot  that  Watteau  studied  the  masterpieces  in  the  galleries  of 
Paris,  and  for  five  years  he  worked  and  studied  and  designed  with 
passionate  enthusiasm.  He  acquired  a remarkable  facility  and  fin- 
ish in  designing  and  painting  delightful  figures  for  fans  and  snuff- 
boxes and  decorative  panels.  In  studying  the  paintings  of  the  Vene- 

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tian  School,  the  works  of  Veronese,  Tintoretto  and  Titian,  he  ac- 
quired his  fine  sense  for  color.  The  five  years  he  was  with  Gillot 
were  years  spent  in  the  very  atmosphere  of  the  art  life  of  Paris,  and 
the  experiences  thus  obtained  changed  Watteau  the  Fleming  into 
Antoine  Watteau  the  exquisite  French  artist,  who  made  a new  genre 
in  art. 

Whatever  may  be  the  reason  for  the  separation,  Watteau  left 
Gillot’s  studio,  and  left  it  seemingly  on  bad  terms.  Probably  Gil- 
lot had  shown  some  jealousy  of  his  pupil’s  ability.  In  1708  we  find 
Watteau,  a frequenter  of  the  studio  of  Claude  Audrin,  and  later  in 
the  same  year  he  entered  Audrin’s  studio  and  competed  for  the  Acad- 
emy prize  of  the  year  1709.  His  intimacy  with  this  new  teacher 
was  of  quite  a different  character  from  that  which  he  had  had  with 
Gillot.  None  of  Watteau’s  works,  however,  shows  that  Audrin  in- 
fluenced him.  Audrin  was  one  of  the  most  influential  artists  of  his 
time  and  obtained  many  commissions  from  royalty.  He  decorated 
several  famous  palaces  of  the  nobility,  and  in  this  work  Watteau 
assisted  him.  Audrin  was  also  inspector  of  the  Luxembourg  Gal- 
leries, so  that  Watteau  had  the  great  advantage  of  having  the  run 
of  the  place  and  free  access  to  the  famous  gardens.  Here  Watteau 
met  the  beaux  and  belles  of  Parisian  society,  who  made  the  gardens 
their  meeting  place.  Audrin  must  have  been  an  excellent  man  of 
business,  and  probably  Watteau  learned  from  him  how  to  conduct 
his  own  affairs.  Audrin,  however,  kept  Watteau  to  his  studies  and 
saw  to  it  that  he  worked  at  his  Academy  competition  picture.  In 
April,  1709,  the  Academy  examined  the  sketches  made  by  the  com- 
petitors for  the  Grand  Prix , and  on  the  23d  of  August  of  the  same 
year  the  committee  awarded  the  prize  to  Antoine  Grison,  and  the 
second  prize  to  Antoine  Watteau.  The  failure  to  secure  the  much- 
coveted  prize  was  a sad  disappointment  to  Watteau,  who  had  set 
his  heart  on  going  to  Italy.  The  defeat  hurt  him  deeply  and  filled 
him  with  such  melancholy  and  chagrin  that  he  became  disgusted 
with  the  life  of  Paris  and  determined  to  go  back  to  his  native 
town. 

While  working  on  the  Academy  picture  he  had  secretly  painted 
for  his  own  private  satisfaction  a military  picture — “ Le  Depart  des 
Troupes.”  This  picture  he  had  the  joy  of  selling  to  Sirois,  the  art 
dealer,  and  stepfather  of  Gersaint,  for  sixty  livres,  and  to  obtain 
a commission  for  a companion  picture. 

Watteau  had  never  had  in  his  possession  so  much  money.  He 
set  out  at  once  for  Valenciennes  much  encouraged  and  overjoyed, 

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especially  because  of  the  commission  for  the  companion  picture 
which  was  to  bring  him  an  additional  two  hundred  livres. 

On  Watteau’s  return  to  Valenciennes,  his  parents,  who  had 
heard  of  their  son’s  great  fame,  received  him  with  many  demonstra- 
tions of  affection.  But  the  little  town,  after  his  experience  of  Paris 
life,  was  not  what  it  had  been  to  Watteau  before  he  left  it  to  seek 
his  fortune.  He  found  the  place  very  provincial  and  dull. 
He  came  back  to  it  the  day  after  the  battle  of  Malplaquet,  on  Sep- 
tember ii,  1709,  and  found  the  town  being  filled  with  wounded 
soldiers  who  were  brought  there  to  be  nursed  to  health.  Watteau  had 
always  had  a great  passion  for  military  scenes  and  military  people. 
The  meeting  with  these  soldiers  set  his  imagination  on  fire  and  sent 
him  working  on  his  commission  picture  for  Sirois.  He  finished  it  in 
a very  short  time  and  it  is  now  known  by  the  title,  11  Halte  d’Armee.” 
During  his  brief  stay  at  Valenciennes  he  also  painted  “ Le  Recruit 
allant  joindre  le  Regiment,”  “ L’Escort  d’Equipages,”  and  several 
smaller  scenes  of  military  life.  To  this  same  period  is  assigned  two 
paintings,  now  at  St.  Petersburg,  which  are  distinguished  for  their 
fine  coloring,  namely,  “ Les  Fatigues  de  la  Guerre  ” and  “ Les  De- 
lassements  de  la  Guerre.” 

A year  had  scarcely  elapsed  when  Watteau  was  once  more  in 
Paris.  On  this,  his  second  visit,  he  seems  to  have  been  taken  up  by 
a great  patron  of  art,  Monsieur  de  Julienne,  who  was  director  of 
the  Gobelins  Tapestry  Manufactory.  Julienne  and  Watteau  became 
very  intimate,  and  Madame  de  Julienne  often  posed  as  a model 
for  many  of  Watteau’s  best  pictures.  Up  to  now  Watteau’s  work 
was  appreciated  only  among  a small  circle  of  people,  but  in  1712 
he  obtained  a wide  reputation  through  the  pictures  he  sent  to  the 
Academy.  Watteau  owes  his  election  to  the  Academy  to  De  la 
Fosse,  who  had  a very  high  admiration  for  the  artist’s  work.  His 
election  was  made  unanimous,  and  he  was  given  the  free  choice  of 
his  subject  for  his  admission  picture.  For  this  admission  picture, 
however,  he  kept  the  Academy  waiting  for  five  years. 

Watteau  made  a very  valuable  acquaintance  through  Julienne 
with  Crozat,  one  of  the  great  collectors  of  the  eighteenth  century,  and 
it  is  said  that  Crozat  kept  Watteau  busy  with  commissions  for  him, 
and  permitted  him  free  access  to  his  collection,  which  included  1,900 
drawings  and  400  paintings  by  the  greatest  artists,  especially  exam- 
ples of  Rubens,  Titian,  Van  Dyck  and  Veronese.  This  collection 
was  in  Crozat’s  fine  mansion  in  the  Rue  de  Richelieu,  where  Watteau 
did  most  of  his  work  at  this  time. 


9 


It  is  possible  that  Watteau  did  not  find  the  big  house  a quiet 
enough  place  to  work  in;  and  as  he  was  also  being  petitioned  by  the 
Academy  for  his  admission  picture,  he  determined  to  move  to  more 
congenial  quarters.  He  went  to  live  in  the  house  of  the  Flemish 
painter,  Nicholas  Vleughels,  and  here  he  completed  his  Academy 
picture,  “ The  Embarkation  for  the  Island  of  Love,”  and  was  received 
with  Vleughels  on  the  28th  of  August,  1717,  in  the  Academy  as 
“ Maitre  des  Fetes  Galantes.” 

The  Academy  picture  proved  a tremendous  success.  Jean  Bar- 
rois  and  Antoine  Coypel,  the  inspectors,  examined  it  and  accepted  it. 
It  was  acclaimed  as  a most  charming  and  delicate  work,  the  like  of 
which  had  never  before  been  submitted  for  an  Academy  verdict. 
Parisian  society  feted  and  welcomed  the  artist  and  made  him  the 
fashion  of  the  day.  But  Watteau  remained  little  moved  by  this  suc- 
cess. His  weak  constitution  and  highly  sensitive  nature  made  him 
extremely  irritable.  He  resented  flattery  and  stupid  praise,  and 
kept  to  himself,  discontented  at  heart,  but  ever  working  to  achieve 
the  best  that  was  in  him. 

Julienne  says  that  Watteau  lived  with  Vleughels  up  to  1718, 
but  it  is  probable  that  he  stayed  at  the  Flemish  artist’s  house  until 
he  set  out  on  his  journey  to  London.  It  was  during  this  time  of  his 
residence  with  Vleughels  that  he  painted  the  “ Concert,”  now  in  the 
Wallace  Collection,  in  which  we  recognize  Vleughels  as  the  listening 
man.  The  lost  “ Concert  Champetre  ” is  also  of  this  time,  for  the 
cello-player  in  the  centre  of  the  picture  is  a portrait  of  Vleughels. 
The  “Toilette  du  Matin”  and  the  “Du  Soir  ” are  also  of  the 
Vleughels  period,  and  rough  copies  of  both  by  Vleughels  are  in  the 
Museum  at  Valenciennes. 

Watteau’s  health,  never  robust,  was  now  giving  great  anxiety 
to  his  friends.  Some  internal  ailment  distressed  him  considerably 
and  deepened  his  melancholia  and  depression.  Julienne,  Crozat, 
Caylus  and  Gersaint  met  and  advised  Watteau  to  go  to  England 
and  consult  Dr.  Meade,  a famous  specialist  in  diseases  of  the  chest. 
Thus  urged  Watteau  consented  and,  in  October,  1719,  he  set  out 
for  England  and  took  up  his  residence  in  Greenwich.  Here,  under 
Dr.  Meade’s  care,  he  painted  “ Les  Comedienes  Italiens  ” and 
“ L’Amour  Paisible  ” for  his  physician,  and  “ Le  Repos  Dans  un 
Bois  ” and  “ Le  Bal  Champetre,”  now  in  the  Dulwich  Gallery.  Dr. 
Meade  presented  Watteau  to  the  King,  who  commissioned  the  artist 
to  paint  six  pictures,  all  of  which  are  now  in  Buckingham  Palace. 
Watteau  remained  in  England  but  a short  time.  The  climate  of  the 

10 


country  was  anything  but  beneficial  for  him.  He  became  more  de- 
pressed than  ever  and  found  little  or  no  companionship  among  the 
phlegmatic  and  unsympathetic  people  whose  only  interest  in  him  was 
that  they  might  acquire  his  paintings  and  shower  money  on  him.  “ It 
is  here,”  he  said  to  his  friend  Gersaint,  “ that  I began  to  have  a taste 
for  money  ” — a taste  which  grew  into  a passion  with  him  as  he  grew 
older. 

On  his  return  to  Paris  Watteau  lived  with  Gersaint,  the  art 
dealer,  and  painted  for  him  the  now  famous  sign  for  his  shop.  Ger- 
saint attests  that  the  sign  was  painted  in  the  mornings  of  eight  days. 
Watteau  could  not  work  in  the  afternoons  on  account  of  his  poor 
health.  He  stayed  six  months  with  the  art  dealer  and  then  left  him 
suddenly.  He  was  afraid,  he  said,  he  would  become  a burden  on  his 
friend. 

In  1721  Watteau  made  preparations  for  going  back  to  Valen- 
ciennes in  order  to  see  his  parents  again.  He  sold  his  furniture  and 
effects  and  was  all  ready  to  leave  Paris.  The  doctor,  however,  for- 
bade him  to  undertake  the  journey.  It  was  then  that  his  friend, 
Canon  Haranger,  obtained  for  him  a house  in  the  quiet  and  pretty 
village  of  Nogent-sur-Marne,  where  it  was  hoped  the  country  air 
would  restore  him  to  some  health.  Here  his  countryman,  Antoine 
Pater,  came  to  visit  him  for  the  purpose  of  study,  and  here  he  painted 
his  last  picture,  a scene  from  Moliere’s  “ La  Malade  Imaginaire,” 
picturing  the  obsequies  of  a sick  man.  He  also  worked  at  a “ Christ 
on  the  Cross,”  intended  for  the  village’s  parish  church,  but  this  he 
left  unfinished.  His  strength  continued  to  fail  daily,  until  on  the 
1 8th  of  July,  1721,  surrounded  by  his  friends  and  pupils,  he  passed 
away  in  the  arms  of  his  dear  friend,  Gersaint.  His  possessions  and 
property  were,  at  his  request,  divided  among  his  four  friends, 
Haranger,  Julienne,  Hennin  and  Gersaint. 

In  spite  of  Watteau’s  peculiar  disposition  and  temperament,  he 
must  have  been  a very  lovable  man.  His  was  not  the  nature  to  make 
friends  quickly,  and  yet  almost  all  his  life  friends  stood  near  him  and 
helped  him  and  exhibited  the  most  anxious  solicitude  for  his  welfare 
and  happiness.  Gersaint  says,  “ he  was  a good,  but  a tiresome  friend, 
a misanthrope.”  Julienne  describes  him  as  “ a libertine  of  the  spirit, 
but  wise  in  his  conduct.”  He  loved  to  be  alone,  and  his  sensitive 
nature,  added  to  a restlessness  of  disposition,  must  often  have 
tried  his  friends  greatly.  He  was  always  changing  his  place  of  resi- 
dence, as  if  he  could  not  put  up  for  long  with  the  monotony  or  the 
dullness  or  the  ennui  or  whatever  it  was  that  came  over  him.  He 


seemed  never  to  be  at  peace  with  himself.  These,  probably,  are  the 
outward  marks  of  the  pulmonary  disease  which  brought  him  to  an 
early  death.  In  appearance  he  reflected  this  spiritual  discontent. 
“ II  etait  moienne  taille,”  says  Caylus,  his  biographer,  “ it  n’avait 
point  du  tout  de  physiognomie,  ses  yeux  n’indiquoient  ni  son  talent, 
ni  la  vivacite  de  son  esprit.”  A comparison  between  the  head  of  the 
young  Watteau  in  the  double  picture  with  Julienne  and  the  well- 
known  portrait  in  Boucher’s  engraving,  reveals  immediately  how 
his  nervousness  and  disease  had  wasted  him. 

When  we  sum  up  the  mass  of  Watteau’s  work  and  realize  that 
it  all  was  accomplished  in  less  than  fifteen  years,  and  under  the  most 
distressing  of  circumstances  and  bodily  sickness,  we  must  be  not  a 
little  astonished. 

Watteau’s  paintings  may  be  divided  into  four  periods,  accord- 
ing to  which  the  reproductions  in  the  present  volume  have  been 
classified.  These  periods  are : 

(1)  Early  works  from  1710  to  his  return  to  Paris. 

(2)  The  period  before  the  painting  of  “The  Embarkation” — 
1710-1716. 

(3)  The  period  of  the  two  versions  of  “The  Embarkation,” 
and  kindred  pictures. 

(4)  The  works  of  his  later  years  and  style. 

Watteau  entered  Gillot’s  studio  in  1703.  For  his  works  previous 
to  that  date,  as  well  as  for  his  work  with  Gillot,  we  depend  on  engrav- 
ings included  by  Julienne  in  his  edition  of  Watteau’s  Works.  Juli- 
enne’s enthusiasm  for  Watteau  cannot  be  overestimated.  His  friend- 
ship accompanied  the  artist  throughout  his  life,  and  his  loving  ad- 
miration for  him,  after  his  death,  is  to  be  seen  in  the  monument  of 
four  stout  volumes  he  collected  and  reproduced  for  posterity  to  treas- 
ure. The  first  two  of  these  volumes  contain  one  hundred  and  fifty 
engravings  of  drawings  by  Watteau,  and  the  other  two  included  three 
hundred  and  fifty  etchings  after  drawings  by  Watteau.  It  is  not 
possible  to  fix  accurately  the  dates  of  the  composition  of  these  pic- 
tures, because  Watteau  often  went  back  for  his  subjects  to  earlier 
times.  We  can  but  hope  that  some  of  the  original  paintings  may, 
some  day,  come  to  light  and  help  us  to  clear  up  this  period.  There 
is  no  doubt  about  some  of  the  paintings  having  been  made  under 
the  influence  of  Gillot,  and  among  these  are  “ Les  Enfants  de  Bac- 
chus ” (engraved  by  Fossard)  ; “ Les  Enfants  de  Sylene  ” (engraved 
by  Dupin)  ; “ Les  Enfants  de  Monus  ” (engraved  by  J.  Moyreau)  ; 
“La  Cause  Badine”  (engraved  by  J.  Moyreau);  “ L’Enlevement 

12 


cTEurope  ” (engraved  by  F.  Aveline)  ; and  “ Fete  au  Dieux  Pan” 
(engraved  by  Aubert) . The  two  theatrical  pictures,  “ Belle  n’ecoutez 
rien  ” and  11  Pour  Garder  l’Honneur  d’une  Belle,”  evince  Gillot’s 
influence  in  the  theatrical  scheme  of  their  composition. 

Watteau  was  a Fleming  by  birth,  and  his  early  training  in  art 
was  Fleming  also.  But  the  Watteau  whom  we  all  admire  and  the 
Watteau  who  aroused  to  enthusiastic  admiration  the  people  of  Paris 
had  nothing  of  the  Fleming  in  him.  The  “Varie  Gaiete”  is,  as 
we  have  already  remarked,  the  work  of  the  student  of  Teniers.  But 
the  “ Fetes  Galantes  ” is  the  work  of  an  artist  whose  like  had  never 
before  painted.  Gillot  undoubtedly  influenced  Watteau  and  aroused 
in  him  his  latent  taste  for  Italian  comedy  and  pretty  ornamentation; 
but  the  treatment  Watteau  gave  to  comedy  and  his  Pierrots  was  Wat- 
teau’s own.  His  backgrounds,  the  grouping  of  his  figures,  the  cos- 
tumes, all  are  distinguished  in  their  treatment  from  anything  of  their 
kind  that  had  been  accomplished  in  the  eighteenth  century.  A most 
interesting  picture  is  the  “ Promenade  sur  les  Remparts,”  since  it 
contains  the  germ  of  all  the  future  11  Fetes  Galantes,”  and  is  the 
direct  forerunner  of  the  “ Jardins  de  St.  Cloud.”  If  we  are  to  be- 
lieve these  pictures  are  of  Flemish  influence,  then  we  must  trace  that 
influence  to  Van  der  Meulen.  Watteau  adhered  to  that  artist’s  style 
more  than  to  that  of  any  other  Flemish  painter.  Of  course  “ La 
Varie  Gaiete,”  belonging  as  it  does  to  the  period  of  his  residence 
in  Valenciennes,  bears  all  the  stamp  of  his  native  land.  After  his 
return  from  Valenciennes  Watteau  showed  the  result  of  the  various 
influences  which  had  played  upon  him  during  his  residence  in  Paris. 
His  technique  is  still  uncertain  and  we  see  in  the  “ Savoyarde  ” and 
“ La  Proposition  Embarrassante  ” that  he  had  not  grown  in  ability 
to  handle  large  figures.  This  same  weakness  is  seen  in  the  first 
“ L’Embarquement  pour  Cythere  but  in  the  later  ones  the  master 
shows  his  accomplished  art.  In  all  that  Watteau  did  he  showed  how 
deeply  he  had  been  affected  in  his  grouping  and  coloring  by  Rubens, 
in  his  composition  and  rich  painting  by  the  Venetians,  and  in  the 
distinguished  coolness  of  his  silver  tones  by  Van  Dyck.  It  was  a 
fine  and  a self-assured  power  that  enabled  him  to  assimilate  these 
foreign  influences.  Watteau  became  so  much  French  that  his  paint- 
ings practically  are  a record  of  the  new  spirit  and  new  life  of  Paris, 
which  was  the  outcome  of  the  revolt  against  the  formality  and  preci- 
osity of  the  reign  of  Louis  XIV.  The  times  had  been  artificialized 
by  the  King’s  mistresses,  who  ruled  and  led  the  fashions  and  the  man- 
ners of  the  day.  Watteau  entered  on  this  period  with  a wonderful 

l3 


sympathy  for  the  rising  revolt.  The  grace  and  spontaneity,  the 
freedom  and  charm  which  his  canvases  exhale  were  assured  of  suc- 
cess by  a people  who  were  only  too  anxious  to  be  shown  a more 
natural  and  simple  expression  of  themselves.  Watteau  did  this  and 
was  acclaimed  a great  artist  in  consequence.  At  the  same  time  he 
did  it  so  excellently  that  his  work  remains  to  this  day  a charm  and 
a delight  to  a posterity,  for  whom  the  days  of  the  early  eighteenth 
century  in  France  are  but  stories  and  tales. 


H 


ANTOINE  WATTEAU 


ABBREVIATIONS  AND  EXPLANATIONS 

H.  = Height 
B.  = Width 


Auf  Holz  = oii  wood 
Auf  LEiNWAND  = on  canvas 
Auf  Schiefer  = on  slate 


The  figures  giving  the  sizes  of  the  paintings  stand  for  metres 


*St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  0,40,  B.  0,32 

Das  Murmeltier 

The  Marmot  „La  Marmotte“ 


Watteau  1 


1 


Strafiburg,  Kunstmuseum 

Interior  of  a Kitchen 


Kiicheninterieur 


Auf  Leinwand,  H.0,53,  B.0,44 

Interieur  de  Cuisine 


2 


London,  Tennant-Galerie 


Echte  Lustigkeit 


Auf  Leinwand 


Peasants  Merrymaking 


„La  vraie  Gaite" 


3 


4 


St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  0,33,  B.  0,45 

Das  Biwak 

The  Bivouac  „Camp  volant" 


St.  Petersburg,  Ermitagc 

Das  Biwak  (Ausschnitt) 

The  Bivouac  (Detail)  „Camp  volant"  (Detail) 


5 


6 


Paris,  Edmond  de  Rothschild  Auf  Kupfer 

Ruckzug  der  Nachhut 

Breaking  up  the  Camp  „Recrue  allant  joindre  le  Regiment" 


II. 

DIE  ZEIT  VOR  DEM  EMBARQUEMENT 

CA.  1710—1716 

BEFORE  THE  EMBARKING  OEUVRES  ANTERIEURES  A L’EMBARQUEMENT 
ABOUT  1710-1716  ENVIRON  1710—1716 


7 


9 


Die  Garten  von  Saint  Cloud 


Madrid,  Prado 

Die  Garten  von  Saint  Cloud  (Ausschnitt) 

The  Gardens  of  St.  Cloud  „Les  Jardins  de  Saint  Cloud" 
(Detail)  (Detail) 


10 


11 


Die  Garten  von  Saint  Cloud  (Ausschnitt) 


12 


* Potsdam,  Sanssoucl  Auf  Lelnwand,  H.  0,65,  B.  0,92 

Der  Brautzug 

The  Wedding-Procession  „La  Mariee  de  Village" 


13 


Der  verwirrende  Vorschlag 


14 


Chantilly,  Musfie  Conde  Auf  Holz,  H>  0)31,  B<  0 44 

Landliche  Freuden 

Rustic  pleasures  „Les  Plaisirs  pastorales" 


Chantilly,  Mus6e  Cond6 

Landliche  Freuden  (Ausschnitt) 

„Les  PJaisirs  pastorales" 


Rustic  Pleasures 
(Detail) 


(Detail) 


1 5 


* Chantilly,  Mus6e  Cond<§  Auf  Holz,  H.  0,24,  B.  0,17 

Die  unruhige  Liebende 

The  Lover’s  Delay  „L’Amante  inquiete“ 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


16 


Watteau  2 


17 


Tanz  nach  dem  Dudelsack 


* Berlin,  Kaiser-Friedrlch-Museum  Auf  Leinwand,  H.  0,35,  B.  0,30 

Das  Friihstiick 

The  Picnic  „La  Collation" 


18 


19 


* London,  Soane-Museum  Auf  Leinwand 

Dorfhochzeit 

Village  Wedding  „L’Accordee  de  Village" 


20 


♦London,  Sir  Hugh  Lane  Auf  Leinwand,  H.  0,457,  B.  0,546 

Der  Kontertanz 

The  Contredance  „La  Contredanse" 


* Paris,  Louvre  Auf  Leinwand,  H.  0,26,  B.  0,19 

Der  Gleichgultige 

The  Indifferent  „L’Indifferent“ 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


21 


* Paris,  Louvre 

The  shrewed  Girl 


Die  Schlaue 


Auf  Leinwand,  H.  0,25,  B.  0,19 

„La  Finette" 


Nach  einer  Aufnahme  von  Braun  & Cle.  Nachf.,  Dornach  (Elsafl) 


22 


* Paris,  Edmond  de  Rothschild 

Auf  Leinwand 

Vollkommener  Einklang 

Perfect  Harmony 

„L’ Accord  parfait" 

23 


* London,  Sir  Erigard  Vincent 

t>;;  * v r. . v.i  i A 

Maskerade 

Auf  Leinwand 

Masquerade 

'.lx..  . 

Une  Mascarade 

(„Les  Habits  sont  Italiens") 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (ElsaB) 


24 


25 


* Troyes,  Museum  Auf  Leinwand 

Die  Abenteurerin 

The  Adventuress  „L’Aventuriere“ 


26 


♦Troyes,  Museum 


* London,  Buckingham-Palace 

The  Surprise 


Die  Ueberraschung 


Auf  Leinwand 


„La  Surprise" 


27 


The  Guitar-Player 


Der  Gitarrespieler 


Le  Joueur  de  Guitare 


• • 


Chantilly,  Mus<§e  Cond6 


28 


29 


Auf  Lelnwand,  H.  0,445,  B.  0,545 


30 


Die  Zerstreuungen  des  Krieges 

The  Recreations  of  War  „Les  Delassements  de  la  Guerre1 


31 


St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  0,22,  B.  0,33 

Die  Strapazen  des  Krieges 

The  Hardships  of  War  »Les  Fatigues  de  la  Guerre" 


* Althorp,  Earl  Spencer  Auf  Leinwand 

Mannliches  Bildnis 

Portrait  of  a Man  Portrait  d’Homme 


32 


Watteau  3 


33 


Der  Heiratskontrakt 


Berlin,  Kalser-Friedrlch-Museum  Auf  Leinwand,  H.  0,37,  B.  0,48 

Die  Liebe  auf  der  franzosischen  Biihne 

Love  in  French  Comedy  „L’ Amour  au  Theatre  fran^ais" 


35 


* Berlin,  Kaiser-Friedrich-Museum  Auf  Leinwand,  H.  0,37,  B.  0,48 

Die  Liebe  auf  der  italienischen  Biihne 

Love  in  Italian  Comedy  „L’ Amour  au  Theatre  italien“ 


London,  Alfred  de  Rothschild 

The  Italian  Serenade 


Die  italienische  Serenade 


Auf  Lelnwand,  H.  0,356,  B.  0,266 


„La  Serenade  italienne" 


36 


*St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  0,36,  B.  0,23 

Die  Polin 

A Polish  Lady  Une  Polonaise 


Mit  Erlaubnis  der  „Staryje  Gody“,  St.  Petersburg 


37 


III. 

DIE  ZWEI  FASSUNGEN  DES  EMBARQUEMENTS 
UND  VERWANDTE  BILDER 
CA.  1716-1718 


THE  TWO  COMPOSITIONS  OF 
THE  EMBARKING  AND  RELATED 
PICTURES 
ABOUT  1716-1718 


L’EMBARQUEMENT  ET  LES 
CEUVRES  DE  LA  MEME  EPOQUE 

ENVIRON  1716-1718 


39 


,-Brm  itra-gg- 

HV-c.  nerzo  re>L,r/\^^  nttsCvr,  - 
Mesetin 


,Mezzetin‘ 


Auf  Leinwand,  H.  0,55,  B.  0,43 
Mezzetin 


41 


♦Edinburgh,  Nationalgalerle 

Der  Plunderer  des  Sperlingsnestes 

The  Plunderer  of  the  Sparrow’s  Nest 


Auf  Leinwand,  H.0,25,  B.0,20 

Le  Denicheur 


42 


43 


Paris,  Louvre  Auf  Leinwand,  H.  0,72,  B.  1,10 

Jupiter  und  Antiope 

Jupiter  and  Antiope  Jupiter  et  Antiope 


44 


Belustigung  im  Freien 

Italian  Recreation  La  Recreation  italienne 


45 


Gesellschaft  im  Park 

Party  in  a Park  L’Assemblee  dans  un  Parc 


Paris,  Louvre 

Gesellschaft  im  Park  (Ausschnitt) 

Assembly  in  a Park  (Detail)  L’Assemblee  dans  un  Parc  (Detail) 


46 


* Edinburgh,  Nationalgalerie  Auf  Leinwand,  H.  0,56,  B.  0,46 

Venezianische  Feste 

Venetian  Feasts  „Fetes  Venitiennes" 


47 


Edinburgh,  Natlonalgalerie 

Venezianische  Feste  (Ausschnitt) 

Venetian  Feasts  (Detail)  „Fetes  Venitiennes"  (Detail) 


48 


* Chantilly,  Musee  Cond6 


Cupid  disarmed 


Der  entwaffnete  Cupido 


Auf  Holz,  H.  0,47,  B.  0,3S 


„L’Amour  desarme“ 


Watteau  4 


49 


* London,  Wallace-Kollektion 


The  Toilet 


Die  Toilette 


Auf  Leinwand,  H.  0,45,  B.  0,38 


La  Toilette 


50 


* Paris,  Princesse  de  Poix  Auf  Leinwand,  H.  0,33,  B.  0,27 

Abendtoilette 

Evening  Toilet  La  Toilette  du  Soir 


51 


52 


London,  Wallace-Kollektion  Auf  Leinwand,  H.  0,65,  B.  0,93 

Lebensfreuden 

The  Joys  of  Life  „Les  Charmes  de  la  Vie“ 


London,  Wallace-Kollektion 

Lebensfreuden  (Ausschnitt) 

The  Joys  of  Life  (Detail)  „Les  Charmes  de  la  Vie“  (Detail) 


53 


London,  Wallace-Kollektion 

Lebensfreuden  (Ausschnitt) 

The  Joys  of  Life  (Detail)  „Les  Charmes  de  la  Vie“  (Detail) 


54 


55 


Potsdam,  Sanssoud  Auf  Leinwand,  H.  0,66,  B.  0,91 

Das  Konzert 

The  Concert  Le  Concert 


56 


* London,  Wallace-Kollektion  Auf  Lelnwand,  H.  0,18,  B.  0,23 

Die  Musikstunde 

The  Music-Lesson  La  Legon  de  Musique 

(.Pour  nous  prouver  que  cette  belle") 


57 


Althorp,  Earl  Spencer  Auf  Leinwand 

Harlekin,  Pierrot  und  Scapin 

Harlequin,  Pierrot  and  Scapin  ..Arlequin,  Pierrot  et  Scapin" 


58 


* Paris,  L6on  Michel-Lfcvy  Auf  Leinwand,  H.  0,46,  B.  0,56 

Die  verzauberte  Insel 

The  enchanted  Island  „L’Ile  enchantee" 


59 


Narh  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafl) 


60 


Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 


61 


Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 


* London,  Wallace-Kollektlon 


Auf  Leinwand,  H.  0,34,  B.  0,26 


Harlekin  und  Colombine 


Harlequin  and  Colombine 


Arlequin  et  Colombine 
(„Voulez-vous  triompher  des  Belles?") 


62 


* London,  Wallace-Kollektion  Auf  Leinwand,  H.  0,267,  B.  0,20 

Das  Familienkonzert 

Family-concert  „Le  Concert  de  Famille” 


63 


* SchloB  Gatschina  bei  St.  Petersburg 

The  Holy  Family 


Heilige  Familie 


Auf  Letnwand,  H.  1,16,  B.  0,97 


„La  Sainte  Familie" 


Mlt  Erlaubnis  der  ..Staryje  Gody“,  St.  Petersburg 


64 


* Paris,  Louvre 


Autumn 


Der  Herbst 


Auf  Lelnwand,  H.  0,46,  B.  0,36 


L’Automne 


Watteau  5 


65 


66 


Auf  Leinwand,  H.  0,56,  B.  0,81 


67 


Die  Liebe  auf  dem  Lande  (Ausschnitt) 


Potsdam,  Neues  Palais 

Die  Liebe  auf  dem  Lande  (Ausschnitt) 
Rustic  Love-Idyll  „L’ Amour  paisible" 

(Detail)  (Detail) 


68 


69 


Die  Einschiffung  zur  Liebesinsel 


Berlin,  Kgl-  SchloB 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere"  (Detail) 


70 


Berlin,  Kgl.  Schlofi 


Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere“  (Detail) 


71 


Berlin,  Kgl.  SchloB 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere"  (Detail) 


72 


Berlin,  Kgl.  SchloB 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  .L’Embarquement  pour  Cythere"  (Detail) 


73 


Berlin,  Kgl.  SchloB 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere"  (Detail) 


74 


Berlin,  Kgl.  Schlofi 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere"  (Detail) 


75 


Berlin,  Kgl.  Schlofl 

Die  Einschiffung  zur  Liebesinsel  (Ausschnitt) 

Embarking  for  Cythera  (Detail)  „L’Embarquement  pour  Cythere"  (Detail) 


76 


77 


London,  Wallace-Kolleklion  Auf  Lelnwand,  H.  0,317,  B.  0,42 

Die  Champs-Elysees 

The  Chamos-Elvsees  ..Les  Chamos-Elvsees“ 


London,  Wallace-Kollektion 

Die  Champs-Elysees  (Ausschnitt) 

The  Champs-Elysees  (Detail)  „Les  Champs-Elysees“  (Detail) 


78 


79 


*London,  Dulwich-Galerie  Auf  Leinwand,  H.  0,50,  B.  0,615 

Ballfreuden 

Pleasures  of  the  Ball  „Les  Plaisirs  du  Bal“ 


80 


London,  Dulwich-Galerle 


Watteau  6 


81 


London,  Dulwich-Galerie 


82 


Der  Liebesunterricht 


* Paris,  Louvre  Auf  Leinwand,  H.  0,50,  B.  0,41 

Der  Fehltritt 

The  Fall  „Le  faux  Pas“ 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


83 


* St.  Petersburg,  Graf  Stroganoff 

Pouting 


Auf  Lelnwand 


Die  Grollende 


„La  Boudeuse* 


84 


85 


Potsdam,  Neuts  Palais  Auf  Lelnwand,  H.  0,56  B.  0,81 

Die  Hirlen 


86 


Potsdam,  Neues  Palais 


87 


Gesellige  Unterhaltung  im  Freien 


88 


Gesellige  Unterhaltung  im  Freien  (Ausschnitt) 


89 


erie  Auf  Lelnwand,  H.  0,61,  B.  0,75 

Das  Liebesfest 

The  Feast  of  Love  Plaisirs  d’Amour 


90 


Dresden,  Kgl.  Gem31degalerie 


IV. 

DIE  WERKE  DES  LETZTEN  STILES 

CA.  1719—1721 

THE  WORKS  OF  THE  LAST  STYLE  CEUVRES  DE  LA  DERNIERE  EPOQUE 

ABOUT  1719—1721  ENVIRON  1719-1721 


91 


93 


Der  Tanz 

The  Dance  La  Danse 

(„Iris.  c’est  de  bonne  heure  etc. 


Potsdam,  Neues  Palais 

Der  Tanz  (Ausschnitt) 

The  Dance  (Detail)  La  Danse  (Detail) 


94 


The  Dance  (Detail) 


Der  Tanz  (Ausschnitt) 


La  Danse  (Detail) 


95 


* Paris,  Louvre 


Gilles 


Gilles 


Auf  Leinwand,  H.  1,84,  B.  1,49 


Gilles 


96 


Paris,  Louvre 


Gilles  (Ausschnitt) 


Gilles  (Detail) 


Gilles  (Detail) 


Watteau  7 


97 


<V 

buO 


c 

3 


ba 

=3 

C 

buo 

I 


<D 


98 


* London,  WaWace-Kollektion 


99 


* Valenciennes,  Museum  Auf  Lelnwand,  H.  0,78,  B.  0,62 

Der  Bildhauer  Pater 

Portrait  of  the  Sculptor  Pater  Portrait  de  Pater 


100 


101 


* Potsdam,  Neues  Palais Allf  ie:nwj,nH  h.  O.S7.  B.  0.73 


102 


Franzosische  Komodianten  (Ausschnitt) 


103 


Die  Zusammenkunft  der  Jagdgesellschaft 


London,  Wallace-Kollektion 

Die  Zusammenkunft  der  Jagdgesellschaft  (Ausschnitt) 

The  Halte  during  the  Chase  (Detail)  „Rendez-vous  de  Chasse“  (Detail) 


104 


105 


* Berlin,  Kaiser-Frledrich-Museum  Auf  Leinwand,  H.  1,11,  B.  1,63 

Gesellschaft  im  Park 


Berlin,  Kaiser-Friedrich-Museum 

Gesellschaft  im  Park  (Ausschnitt) 

Assembly  in  a Park  (Detail)  L’Assemblee  dans  un  Parc  (Detail) 


106 


* Paris,  Louvre  Auf  Leinwand,  H.  0,47,  B.  0,31 

Das  Urteil  des  Paris 

The  Judgment  of  Paris  Le  Jugement  de  Paris 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


107 


108 


Gersaints  Ladenschild 


109 


Gersaints  Ladenschild  (Ausschnitt) 


Berlin,  Kgl.  Schlofi 

Oersaints  Ladenschild  (Ausschnitt) 

Gersaint’s  Signboard  (Detail)  „L’Enseigne  de  Gersaint"  (Detail) 


110 


Berlin,  Kgl.  Schlofi 


Gersaints  Ladenschild  (Ausschnitt) 


Gersaint’s  Signboard  (Detail) 


„L’Enseigne  de  Gersaint"  (Detail) 


111 


Berlin,  Kgl.  Schlofi] 

Gersaints  Ladenschild  (Ausschnitt) 

Gersaint’s  Signboard  (Detail)  „L’Enseigne  de  Gersaint"  (Detail) 


112 


Berlin,  Kgl.  Schlbfi 


Gersaints  Ladenschild  (Ausschnitt) 

Gersaint’s  Signboard  (Detail)  L’Enseigne  de  Gersaint  (Detail) 


Berlin,  Kgl.  Schlofi 


Gersaints  Ladenschild  (Ausschnitt) 

Gersaint’s  Signboard  (Detail)  L’Enseigne  de  Gersaint  (Detail) 


Watteau  8 


113 


V. 

ZWEIFELHAFTE  BILDER 

DOUBTFUL  PICTURES  TABLEAUX  D’ATTRIBUTION  DOUTEUSE 


115 


117 


Die  italienischen  Schausoieler 


* Richmond,  Sir  Frederick  Cook  Auf 

Die  Lektiire  beim  Kerzenlicht 

Reading  in  Candle-light  La  Lecture  a la  Chandelle 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


118 


Paris,  Privatbesitz  Auf  Leinwand 

Dekoratives  Panneau 

Panel  of  Decoration  Panneau  decoratif 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafl) 


119 


* Origans,  Museum  Auf  Leinwand 

Der  Affe  als  Bildhauer 

The  Monkey  Sculptor  Le  Singe  Sculpteur 


120 


*Friiher:  Paris,  Cronler  Auf  Leinwand 

Das  schlummernde  Liebespaar 

The  sleeping  Lovers  Les  Amants  endormis 


121 


122 


Mlt  Erlaubnis  der  „Staryje  Gody“,  St.  Petersburg 


*Ehemals:  London,  Wertheimer  Auf  Leinwand 

Der  zudringlich  Schauende 

The  Ogler  „Le  Lorgneur“ 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (ElsaB) 


123 


.. 


124 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafl) 


VI. 

KOPIEN 


COPIES 


COPIES 


125 


127 


* Glasgow,  Museum  Auf  Lelnwand,  H.  0,63,  B.  0,80 

Rast  auf  dem  Marsche 


128 


Ruckzug  der  Nachhut 

Breaking  up  the  Camp  „Recrue  allant  rejoindre  le  Regiment 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


Watteau  9 


129 


* London,  Wallace-Kollektion 


Der  Springbrunnen 


Auf  Leinwand,  H.  0,445,  B.  0,336 


The  Fountain 


„ La  Cascade" 


130 


* London,  Baron  Alfred  de  Rothschild  Auf  Leinwand,  H.  0,445,  B.  0,336 

Der  Springbrunnen 

The  Fountain  „La  Cascade" 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


131 


132 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


133 


London,  Baron  Alfred  de  Rothschild  Auf  Lelnwand 

Dorfhochzeit 


134 


Nach  einer  Aufnahtne  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


*Wien,  Hofmuseum  H.  0,31,  B.  0,25 


Der  Gitarrespieler 

The  Guitar-Player  Le  Joueur  de  Guitare 


135 


136 


Der  zudringlich  Schauende 


* London,  Herzog  von  Sutherland 

Perfect  Harmony 


Vollkommener  Einklang 


Auf  Leinwand 


„L’Accord  parfait" 


137 


138 


Althorp,  Earl  Spencer  Auf  Leinwand 

Die  Musikstunde 

The  Music-Lesson  La  Legon  de  Musique 

(„Pour  nous  prouver  que  cette  belle") 


139 


Harlekin,  Pierrot  und  Scapin 


140 


Nach  einer  Aufriahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


141 


Paris,  Mr.  de  Rasquinet  Auf  Lelnwand 


142 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (ElsaB) 


143 


*Apsley  House,  Herzog  von  Wellington  Auf  Leinwand 

Ballfreuden 

Plpasnrps  nf  thp  Rail ..Les  Plaisirs  du  Bal“ 


VII. 

FALSCHLICH  ZUGEWIESENE  GEMALDE 

WRONGLY  ATTRIBUTED  PICTURES  TABLEAUX  FAUSSEMENT  ATTRIBUES 


Watteau  10 


145 


* Paris,  Louvre  Auf  Leinwand,  H.  0,50,  B.  0,46 

Der  zufriedene  Hirte 

The  happy  Shepherd  „Le  Berger  content" 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


147 


148 


London,  Viktoria  und  Albert-Museum  Auf  Lelnwand 

Die  Schaukel 

The  Swing  L’Escarpolette 


149 


*Florenz,  Ufflzlen  Auf  Leinwand 

Der  Flotenspieler 


* Edinburgh,  Museum 


The  Windmill 


Das  Windspiel 


Auf  Leinwand 


Le  Moulin  a vent 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (ElsaB) 


150 


151 


Dublin,  Natlonalgalerie  _ „ . . . Auf  Lelnwand 


152 


London,  Dulwich-Galerie 


* London,  Herzog  von  Sutherland 

Joys  of  Summer 


Auf  Leinwand 


Sommerfreuden 


Les  Agrements  de  l’Ete 


153 


Angers,  Museum 

Rustic  Concert 


Auf  Leinwand 


Landliches  Konzert 


Concert  champetre 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (ElsaB) 


154 


* Grenoble,  Museum 


Auf  Leinwand 


Landschaft 

Landscape  Paysage 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


155 


156 


Landschaft  mit  Figuren 

Landscape  with  Figures  Paysage  avec  Personnages 


* Paris,  Mme.  Porgfes  Auf  Leinwand,  H.  1,27,  B.  0,92 

Gilles,  Scaramouche,  Scapin  und  Harlekin 

Gilles,  Scaramouch,  Scapin  and  Harlequin  Gilles,  Scaramouche,  Scapin  et  Arlequin 

Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafi) 


157 


158 


Nach  einer  Aufnahme  von  Braun  ft  Cle.  Nachf.,  Dornach  (EJsafi) 


Prag,  Rudolflnum 

Mascarade  in  the  Night 


Auf  Leinwand 


Nachtliche  Maskerade 


Mascarade  nocturne 


159 


160 


Nantesse,  Mr.  Roussel  Auf  Leinwand 

Das  Bacchusmahl 

The  Repast  of  Bacchus  Le  Repas  de  Bacchus 


•Krakau,  Museum  Czartoryski  Auf  Letnwand 

Landschaft  mit  Figuren 

Landscape  with  Figures  Paysage  avec  Personnages 


Nach  einer  Aufnahme  von  Braun  & Cie.  Nachf.,  Dornach  (Elsafl) 


Watteau  11 


161 


ORIGINALRADIERUNGEN  WATTEAUS 

ORIGINAL-ETCHINGS  GRAVURES  ORIGINALS 

BY  WATTEAU  DE  WATTEAU 


NACH  DEM  EXEMPLAR  IM  BESITZE  DES  BARON  EDMOND  DE  ROTHSCHILD  IN  PARIS 

Das  mit  einer  Ziffer  in  Klammern  gesetzte  G.  verweist  auf 
Goncourt,  Catalogue  raisonne  de  l’oeuvre  peint  et  grave  d’Antoine  Watteau 


163 


(Q.  1)  H.  0,23,  B.  0,20 

Italienische  Schauspielergesellschaft 
Italian  Comedians  La  Troupe  italienne 


165 


Watteau  11* 


166 


Riickzug  der  Nachhut 

Breaking  up  the  Camp  Recrue  allant  joindre  le  Regiment 


The  Indifferent 


Der  Gleichgiiltige 


L’Indifferent 


167 


B 

o . 

e i 

J -g 
s 

. <u 

£ -a 

O M 
Xi  a> 


b|0 


<u  w 
i_  o 


XJ  3 
*J  bJO 

H E 


168 


169 


(Q.  4)  H.  0,1 1,  B.  0,07  (G.  5)  H.  0,11,  B.  0,07 

Spazierganger  (von  vorn)  Spazierganger  am  Brunnen 

Gentleman  taking  a Walk  Promeneur  vu  de  face  Gentleman  leaning  on  a Fountain  L’Homme  appuye 

fsppn  in  Front! a.iq  Hpn  Fio-nrps  Hp  MdHps“ 


170 


171 


(G.  8)  H.  0,11,  B.  0,07  (G.  9)  H.  0,11,  B.  0,07 

Promenierende  Dame  (von  hinten)  Sitzende  Dame 

Lady  walking  La  Femme  marchant  Lady  sitting  La  Femme  assise 

(from  behind) de  dos  Aus  den  „Figures  de  Modes'* 


ANHANG 


SUPPLEMENT 


SUPPLEMENT 


Einige  photographische  Aufnahmen  von  Bildern,  die  in  dieses  Werk  gehoren, 
deren  Beschaffung  aber  als  unmoglich  schon  aufgegeben  war,  konnten  im  letzten 
Augenblick,  wahrend  das  Buch  sich  schon  im  Druck  befand,  doch  noch  erreicht 
werden.  Auch  wurden  wahrend  der  Herstellung  des  Buches  noch  einige  weitere 
Gemalde  unter  Watteaus  Namen  in  verschiedenen  Privatsammlungen  bekannt.  Alle 
diese  vereinigen  wir  in  diesem  Anhang,  um  sie  wenigstens  solchergestalt  schon  in 
dieser  ersten  Auflage  des  Werkes  der  Wissenschaft  zugangig  zu  machen. 

Redaktion  der 

Klassiker  der  Kunst  in  Gesamtausgaben 


173 


175 


Paris.  Mme.  Carrlfcre 


Paris,  Madame  Groult  Auf  Leinwand 

Portrait 

Portrait  Portrait 


176 


Paris,  Madame  Groult 


Auf  Lelnwand 


Portrat 


Portrait 


Portrait 


Watteau  12 


177 


178 


Ehemals:  Sammlung  Rudolf  Kann,  Paris  Auf  Leinwand 

Soldatenstiick 

Military  Scene  Scene  militaire 


179 


Parle  Mr.  Krapmpr H.  0,33,  B.  0,45 


180 


Gersaints  Ladenschild  (Bruchstiick) 


Paris,  L6on  Michel-L6vy 


Die  Wahrsagerin 


Auf  Leinwand,  0,75,  B.  0,56 


The  Fortune-Teller 


*La  Diseuse  d’Aventures“ 


181 


182 


Paris,  Princesse  de  Poix  Auf  Leinwand,  H.  0,64,  B.  0,80 

Landliches  Fest 

Country  Feast  Fete  champetre 


Paris,  Edmond  de  Rothschild 


Italian  Comedians 


Auf  Leinwand 


Italienische  Schauspielergesellschaft 


La  Troupe  italienne 


183 


Auf  Leinwand 


Paris,  Edmond  de  Rothschild 


Led  by  Love 


Unter  Amors  Fuhrung 

Conduits  par  l’Amour 


184 


